Mrs Dalloway Page #5

Synopsis: London, summer 1923. Clarissa, MP Richard Dalloway's wife, sets out on a beautiful morning; she's shopping for flowers for her party that evening. At the same time Septimus Warren Smith, a young man who survived the battlefields of Europe, is suffering from a nightmarish delayed-onset form of shell-shock. Clarissa's nearly-grown daughter is distant, and preoccupied. In the course of one day, Peter, Clarissa's passionate old suitor, returns from India and is invited to her party; Septimus commits suicide; Clarissa relives a day in her youth (and her reasons for her choice of a life with the reliable Richard Dalloway).
Genre: Drama, Romance
Director(s): Marleen Gorris
Production: BMG
  2 wins & 1 nomination.
 
IMDB:
6.9
Rotten Tomatoes:
71%
PG-13
Year:
1997
97 min
886 Views


Ellie! I'm so glad you've come. | It's so grand!

Oh, dear! Why can she at least |stand up properly!

Well, well, I suppose | it's her weaponless state.

Wonderful to see you again.

Richard, how lovely.

Their graces, the Duke | and Duchess of Marlborough.

A duke?

Oh, why did the Marlboroughs | have to follow Ellie Henderson?

They must wonder what kind |of people I invite to our parties.

Clarissa, how lovely to see you. | Thank you so much for inviting us.

Bertie, how lovely of you to come.

It's a disaster! The party is | a disaster! I'm humiliated!

And now there's Peter wondering off. | I'm speak to him!

I know I get the chance, I know it. |Why's he like dirt? He thinks I'm absurd.

Oh, it's too much of an effort! | I'm not enjoying it at all.

I feel like a stake | driven in on the top of this stairs.

Clarissa. | Delighted to see you.

Mr. Hugh Whitbread. |How did you find Evelyn today?

Bearing up, bearing up. | I shall visit her tomorrow.

I do hope she doesn't read | Lady Azquez's memories.

Oh, I doubt it. | Not Evelyn, she's not a great reader.

Lady Bruton. | Lady Bruton? So she came...

My dear Clarissa.

Maybe she doesn't dislike me as much |as I thought she did.

The essential condition | for a study of Milton ...

an in depth study of Milton ...

A momentary sensation | of an embrace!

It's not a failure, after all! | It's going to be allright.

It's still touch and go, | but it's begun. My party has begun!

Lady Rosseter. | Lady Rosseter? Who I ask can that be?

Clarissa!

Sally | That voice!

Sally Seaton.

Goodness! She didn't look like that | when she kissed me by the fountain.

How wonderful to see you! | How extraordinary to see her again!

She's older, she's happier, | but less lovely.

But, oh, how wonderful that| she's come to my party.

Sally, I've been thinking about | Bordon all day.

Have you? Have you?

The Prime Minister.

Oh, my goodness, Sally, I must go. | Where's Richard?

Sorry, Ellie. | Duty calls.

How delightful to see you.

Unfortunately, my | wife could not come.

The Prime Minister!

It is the Prime Minister.

Clarissa is looking well, |considering how ill she's been.

I know that Richard was very | worried about her.

M.P.'s wives |really shouldn't get ill.

I believe it was her heart.

I think you can always pull yourself together. | Mind of a matter.

Harry Audle. |You painted your wife. Lovely picture.

Peter!

Peter Walsh!

Good Lord! Sally Seaton. | Lady Rosseter now.

Don't be absurd. | It's true. Lady Rosseter.

We live in Manchester |and I have five ennormous boys.

Either my eyes are deceiving me, | or that's Ellie Henderson?

It's our old vicar's daughter. | She's gaping at the Prime Minister.

Oh, do bring her over, | before she disgraces herself ...

and faints with astonishment.

Mr. Prime Minister, how nice to see you. | What would you like?

She's always looked delicate to me. | But such charm.

Richard would've done a great deal better, |if he'd married a woman ...

with less charm and more backbone. | It would've helped him in his work.

He's lost his chance in the Cabinet.

Lady Bruton and Lady Beckford.

What a pleasure to see you.

Lord, what snobbs the english are!

How they love dressing up | and doing homage. Listen to them!

I'd better have baboons chattering| and coolies beat their wives.

Still the same old Peter. | Still playing with your pocket knife.

It is delicious, isn't it?

We are not all the same, Peter. | My husband may have his own cotton mill now,

but he was a miner's son| and when he...

Oh, look! Look! | Isn't that Hugh Whitbread?

What a toady! | What an obsequious toady!

He's not changed at all.

How can she bear him?

It still makes you angry!

Look at her. Intoxicated, |while they all're thinking she's brilliant.

Don't be too hard on her. | After all, parties are a kind of performance.

She has to give a performance. | It isn't the real Clarissa.

The real Clarissa was lost | years ago.

Mr. Prime Minister, can I | introduce our daughter.

I'm sure, if you were alone | with her, you'll find the old Clarissa again.

Fat chance of that this evening!

Richard so enjoyed your lunch and party.

Richard was most encouraging. | And he's promised to drop my little idea ...

into the right ear.

He and the Prime Minister | are having a quiet word now before he leaves.

My plan will save | the government a fortune.

Maybe Richard is sowing | the seeds this very minute.

Isn't that Peter Walsh | talking to old Mrs. Perry?

Yes, that's Peter.

Dear Peter. | So very sharp and clever...

sure had made a name for himself. But | he's allways in some trouble with women.

Do come and say hello to him!

Now, Peter, we can get it straight| from the horse's mouth.

What is going on in India?

Well, great deal, Lady Bruton. | Is a very complex issue.

It is a tragedy.

If my father, the general, | would be alive, he'll sort it out.

Hay, Mrs. Perry.

Clarissa, I must speak with you, please ...

Peter, I must go and deal |with Sir William and Lady Bradshaw.

Will talk later. | I promise.

Awfully good of you to come.

We are shockingly late. | We hardly dared to come in.

We couldn't resist the temptation.

But a rather sad occurrence held us up. | A young patient of mine killed himself.

Really, Richard, there must be | some provision ...

in the government's bill for |this cases of delayed shell shock.

Yes, poor young man. |Awarded for bravery during the war.

And than this evening he just throws himself| out of the window. Impaled on the railings.

It's quite upset William.

She looks like a sea lion | barking at me.

Dear William. He does so hate | losing a patient.

When a young man's body is blown appart, | he loses an arm or a leg ...

or half of face, | as we've seen so often it.

It's immediate.

Stop it! Stop it! Don't talk of death | in the middle of my party!

I don't like you. | I've never liked you.

You're obscurely evil.

And the poor creature will either survive or he won't,| but we all know ...

and we do our best for him.

A young man came to you |on the edge of insanity...

and you forced his soul ...

made his life intolerable | and he killed himself.

Stucked there with lobs... It's frightful... | Every single mother does everything ...

If you'll excuse me, | lady Bradshaw ...

I have to ... | Alice!

The problem is that politicians | are not really ...

very interested in shell shock. |This is it. This is exactly it.

Hello, Henry, Eleonore. | Delightful to see you.

I see that sir William Bradshaw | is just arrived.

I think it would be most useful to bring him in | on your emigration scheme.

I know he's treating many of this fellows| from shell shock or whatever.

I'm sure, he'll think it's a good idea |to get some of them to Canada.

Open air life and all that... |excellent for mental disturbance.

What a good idea, Hugh.

She's disappeared.

Do you think she went upstairs? |She can't have gone to bed, can't she?

No. She couldn't leave | her own party.

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Eileen Atkins

Dame Eileen June Atkins, (born 16 June 1934) is an English actress and occasional screenwriter. She has worked in the theatre, film, and television consistently since 1953. In 2008, she won the BAFTA TV Award for Best Actress and the Emmy Award for Outstanding Supporting Actress in a Miniseries or Movie for Cranford. She is also a three-time Olivier Award winner, winning Best Supporting Performance in 1988 (for Multiple roles) and Best Actress for The Unexpected Man (1999) and Honour (2004). She was appointed Commander of the Order of the British Empire (CBE) in 1990 and Dame Commander of the Order of the British Empire (DBE) in 2001. Atkins joined the Royal Shakespeare Company in 1957 and made her Broadway debut in the 1966 production of The Killing of Sister George, for which she received the first of four Tony Award nominations for Best Actress in a Play in 1967. She received subsequent nominations for, Vivat! Vivat Regina! (1972), Indiscretions (1995) and The Retreat from Moscow (2004). Other stage credits include The Tempest (Old Vic 1962), Exit the King (Edinburgh Festival and Royal Court 1963), The Promise (New York 1967), The Night of the Tribades (New York 1977), Medea (Young Vic 1985), A Delicate Balance (Haymarket, West End 1997) and Doubt (New York 2006). Atkins co-created the television dramas Upstairs, Downstairs (1971–75) and The House of Elliot (1991–93) with Jean Marsh. She also wrote the screenplay for the 1997 film Mrs Dalloway. Her film appearances include Equus (1977), The Dresser (1983), Let Him Have It (1991), Wolf (1994), Jack and Sarah (1995), Gosford Park (2001), Evening (2005), Last Chance Harvey (2008), Robin Hood (2010) and Magic in the Moonlight (2014). more…

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Submitted on August 05, 2018

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